Feb 22, 2015

Get in on the Austin Monologue Jam

Feb 16, 2015

CYRANO A-GO-GO plays at the 2015 OOtL


CYRANO A-GO-GO is an exploration of one restless theatre artist's fascination with the swashbuckling 1897 play Cyrano de Bergerac by Edmond Rostand. A chance encounter with the script at a suburban public library at the age of 15 leads to a cruel and wonderful calling. Presented as an old-school oration the piece mixes the personal, historical and literary into a journey through Rostand's play.McEntire presents a funny, warm, insightful meditation on the nature of theatricality, the nobility of personal identity and the hard-won lessons of love, unrequited and otherwise.

Playing as part of the 2015 Out of the Loop Fringe Festival

WaterTower Theatre at the Addison Theatre Centre
Stone Cottage Theatre
15650 Addison Road, Addison, TX 75001

Saturday March 7 – 5:00 pm
Friday March 13 – 7:30 pm
Sunday March 15 – 7:30 pm

TICKETS:
Single tickets to all events go on sale Feb. 24. Festival Passes, now on sale, include one admission to each Festival event and are $65.  WaterTower Theatre subscribers receive $10 off each Festival pass.  Individual ticket prices for each event are $10 or $15.  

More ticket information at 972-450-6232 or via email at: boxoffice@watertowertheatre.org


More info... HERE


Feb 8, 2015

Pics from CHOP in Dallas

"Brad McEntire"



"Brad McEntire"

CYRANO A-GO-GO at the Out of the Loop 2015

My solo show CYRANO A-GO-GO gets a reboot and a remount at the Addison Water Tower Theatre's 2015 Out of the Loop Fringe Festival in March. More details to come...



   
FESTIVAL PASSES

INDIVIDUAL TICKETS TO ALL EVENTS GO ON SALE FEB. 24, 2015 


Come on - GO LOOPY!

Join us for the 14th Annual Out of the Loop Fringe Festival at
WaterTower Theatre. Over twenty artists and organizations will
present new works including SEVEN World Premieres and
numerous award-winning return artists. Full details are available
on our website.

Festival passes (NOW ON SALE!) include one admission to each Festival event, giving you the opportunity to see 22 acts from emerging professional artists.

    Individual Show Ticket           $ 10 each

    LOOP Pass                            $ 65

(That's a savings of nearly $150!)
WaterTower Theatre subscribers receive $10 off each LOOP Pass

For more information, or to purchase your LOOP Pass,
call the Box Office at 972.450.6232


Feb 7, 2015

Nice words about CHOP from audiences


CHOP is about to wrap up its two-week run in Dallas and I am touched by all the positive feedback from audiences about the play. Here's a smattering of kind words that filled me with gratitude for having such great audiences.


"Tonight I saw Brad McEntire's solo show CHOP at The Margo Jones Theatre. CHOP is witty, quirky, and captivating. It is the perfect blend of oddity and humanity, and the simple set and light design are just lovely and quite powerful. It had me laughing one minute, and on the edge of my seat the next. I highly recommend this show. Catch it while you can!"  
~ audience member Grace Keller Scott

"So much fun! I can't wait to go to another one of his shows!"
~ audience member Roxie Waits

"Enjoyed it immensely."
~ audience member Danny O'Connor

"Oh, the beautiful brain of Brad McEntire..."
~ audience  member Miller Pyke

"Excited I got to see Brad McEntire work in Chop!"
~ audience member Erin Singleton


Feb 6, 2015

Book Report: The Four Hour Work Week

2015 is off and rolling and I am determined to raise the bar on many aspects of my life over the next dozen months. With that in mind, I have been revisiting many books that I read at earlier times in my life (and a few new ones, too) that impacted me in some way. I am going back to these books in the spirit of returning to the river... no matter when you go back, the water is never the same. 

So, though I usually use this blog as a sort of online portfolio of my own creative work, I am opeing it up a bit to include more and more of my process. I am starting a series here on this blog called "Book Reports" and I will do my best to put down why and how these books affected me and how I am currently benefiting from them.

To start off, I pick one of the most controversial books on my shelf... Timothy Ferriss' Four Hour Work Week.



HOW'D I GET IT?

My friend Alia gave me The 4-hour Workweek: Escape 9-5, Live Anywhere, and Join the New Richas a gift in the summer of 2007. I had landed in NYC and stayed with her for a week and a half right after I returned from a year abroad in Hong Kong. She had already torn through the book and all she said when she handed it to me was "it's a little better than the same kind of self-help/business books because it lists actual resources, websites and plans of action..." 

Over the next few days I read over half of it sitting on her third-story patio in Green Point, Brooklyn with the Manhattan skyline rising up into view just across the river.


I ended up devouring the book twice through and then bought the audio version so I could listen to it in my car. I burned copies of it to give to friends. 


With such an endorsement, you'd think that this book became super important to me. And it did, but not in the way you might think.


THE IMPACT

Initially I fell full-crush both for the concepts in the book and for the charismatic author, Tim Ferriss. The book is about optimizing productivity to free yourself up from the cubicle. With this newfound freedom, Ferriss advises "mini-retirements" (or relocating for a few months to another country). Work can become more efficient and mobile and ideally, you'd only have to put in 4 hours any given week to earn enough to be considered a member of "the new rich."


Ferriss himself walked the walk of his book. He seemed a good choice for modeling behavior and lifestyle... he was super smart, wealthy, very fit and had an extremely apparent gift for marketing himself. But he's not a super-speciman. He is weird looking ang kind of diorky and throws off a frat-guy vibe.


I wanted some of what he had. Even more enticing, he made it all seem really accessible and possible. If he could do it, I could do it.

Earn millions, travel the world, own your time, make your mark.

I dug into the book and, like many people, learned through a series of non-starts and failures that the concepts in the 4HWW were not simple and not nearly as accessible as Ferriss had made them out to be,

Here's my list of companies that did NOT even get going...
  •  A website that sells digital versions of play scripts, because soon, I reasoned, everyone would be reading print stuff off their phones (and soon after that came tablets). This was, by far, the best idea I had of the lot. I could see the future and I could see how I could leverage that to my advantage. Unfortunately, the execution of the idea was technically way over my head. I considered hiring someone to help with the user interface part of the website itself. Then, right after I had the idea, Amazon's Kindle books started taking off and websites like StagePlays and Original Works Publishing showed up. Then traditional play publishers like Dramatists and Samuel French began to release digital versions of their collections. I missed the window.
  •  A website that does tutorials on well-known plays. This sounded promising when I was brain-storming, but I quickly realized anyone who would want a short cut to understanding a play would just go to SparkNotes or Cliff's Notes. SparkNotes and the like are really remedial and usually a bit off-base. My idea was to put together a real deep-dive into a play, far superior to the surface fluff offered by short-cut resources like Cliff's Notes. But, as I laid out an action plan and started researching, I realized there was very little market for this idea. Those folks who used SparkNotes obviously didn't have time or inclination to read the play itself, so concise, better analysis was not going to be a draw. And those people who would want a deep-dive into a play would have read the work itself and gone to the library and found their own resources. Plus, again, technically difficult to get a bunch of plays researched and get them packaged and online. Plus, it was an extraordinary amount of work for such a very small demographic (thus small chance of profit). 
  •  An improv/directing/ dramatic writing coaching/consulting business. Which is something I kind of still do, but I didn't make a full-on business out of it. Plus, it was not automated at all. I would have to always show up to teach classes. And the only way to make it scaleable was to make multiple levels so I could have returning students several times. I considered coaching via skype, but on close investigation I realized there really wasn't a huge market for people who wanted me help. Too much work, again, for a small chance of profit. And it didn't offer mobility, which is really what I wanted the most.
  •  An online shop that sold fez hats. I was really into tiki stuff in 2007 and I saw that I could have fez hats manufactured in China, sell them and then drop ship them to customers in the States for cheap. I was going to make fez hats THE THING. Bulk orders for bachelorette parties, for birthdays, for insert-excuse-to-have-a-party parties. I only got to the planning stages of this. There was only one real competitior online, who made over-priced handmade fez, but the marketing behind making fez an in-demand item seemed a huge barrier. Plus, it seemed off-message for me once I started really investigating it. I don't wear a fez that often. I make art and theatre. I couldn't see being enthusiastic about selling fez hats for very long.
The overwhelming barricades for me using the 4HWW to create "automated income" and become "location independent" were three-fold... 1) I wasn't really passionate about any of my ideas. And without passion I was incredibly unmotivated to do the immense amount of work to get them up and going. I realized that people who are passionate about business are not necessarily passionate about the things they sell, but are, instead, passionate about simply selling things. Period. 2.) None of my ideas played to my full-frontal strengths. There was a little bit of overlap, but launching myself full into anyone of these ideas meant I'd have to ive up the things I really liked to do in order to get them off the ground. I wasn't willing to sacrifice the stuff I was really passionate aout in order to make businesses that had little chance of success. 3.) When I realized I wasn't passionate about simply making money to make money (which is what business is), I had to come to terms with what I was passionate about. And I realized I was really into creating art... particularly theatre, which is lucky since that is what my degrees are in. And the thing about theatre is that it can't be digitalized. There's no way to "automate" it.

So, I was back to square one.

I went from really digging Tim and his book to feeling like the thing was a scammy Pyramid Scheme of some sort. Or at the very least, that once again, my situation in life fell outside the normal assumptions these kinds of self-help/business books were written for.

But here's what I've come to realize... the journey of trying and failing, thinking and evaluating would not have been part of my growth without the 4HWW. The real vaue of the book is the reframing of my points of reference. I underwent a paradigm shift. I began to think a lot more was possible. What did I need the income for? How much did I truly need to amke to live like I wanted? Could I travel and make things and get by without worry without getting a standard 9-to-5? I also came to realize just how much work would really be needed to make dreams come true.

The 4HWW changed the way I thought about the world and my place in it.

This didn't seem to be the explicit purpose of the book, but it has become, over time, a valuable take-away for me. This shifting of perspective came in 2008, about the time I was revamping Audacity Theatre Lab to be more artist-centric and getting my solo performance career off the ground in order to travel more and share my art.

That's the real reason why The 4-hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich is on my Book Report list.

Feb 4, 2015

CHOP continues in Dallas

"Brad McEntire"

CHOP: A Long Way Back Home

Brad McEntire's solo show Chop plays a full and proper run in Dallas... finally.


Eight years ago, Brad McEntire was living in Hong Kong and feeling very isolated and homesick. He began writing a one-person show about an isolated man looking for where he belongs. That play turned into Chop, and in it the protagonist journeys through himself to find his true sense of belonging... in an underground amputation fetish group. 

McEntire is finally bringing Chop, where he feels it belongs, too... back home to Dallas.

McEntire premiered Chop at the 2010 Out of the Loop Fringe Festival. He then took the piece around the country for the next few years, including the Phoenix Fringe Festival, the New Orleans Fringe, Houston Fringe, Portland Mini-Fringe, College of Santa Fe and San Antonio’s Overtime Theatre, the 2012 New York international Fringe Festival, Seattle Fringe and the New Orleans SoloMania Fest among others. 

With the exception of a one shot presentation in the lobby of a loft apartment building in Deep Ellum in 2010 and a two night limited engagement at the Margo Jones Theatre in July 2012, McEntire has not shown the piece in the Dallas-Ft. Worth area since the original Out of the Loop performances. 

He has been yearning to bring the show back to home turf for a good long while. 
"I have been itching to give Chop a full run here in town, but up until now the timing has never worked out," says McEntire. "There was always another project next on the roster that had to be attended to."

McEntire has since premiered several other solo shows including Cyrano A-Go-Go, an exploration of the swashbuckling 1897 play Cyrano de Bergerac and Robert's Eternal Goldfish, about an angry man haunted by an undying pet fish (that piece won a Best of Fest Award at the 2014 Out of the Loop Festival). 

His foray into solo performance culminated in last year's Dallas Solo Fest, a celebration of one-person shows featuring a variety of different kinds of shows presented by local performers as well as soloists from around the country.

"I've always been a small, indie theatre advocate, but the last several years have been very exciting. There's been an emphasis on solo shows. That all started for me with Chop. I'm delighted to bring it home again," says McEntire.

Chop opened at Margo Jones Theatre January 29, 2015. Remaining shows plays February 3 – February 7 (Tuesday thru Saturday) at 8:00 PM. Tickets $12 at the door.

Information/reservations at: (214) 888-6650 or via email at: 
audacitytheatrelab@yahoo.com . The Margo Jones Theatre is located at the Magnolia Lounge, Fair Park, 1121 First Ave., Dallas, TX 75210. For more information visit:www.AudacityTheatreLab.com

Feb 3, 2015

CHOP a Top 5 Pick


Nancy Churnin of the Dallas Morning News' GuideLive.com lists CHOP as one of her Top 5 Theater Picks of the Week. Play from the 2:02 minute mark in video above.

Feb 1, 2015

Austin Monologue Jam Continues